DOCSLIB.ORG

Finding Aid to the Historymakers ® Video Oral History with Frankie Knuckles

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Finding Aid to the Historymakers ® Video Oral History with Frankie Knuckles Finding Aid to The HistoryMakers ® Video Oral History with Frankie Knuckles Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Knuckles, Frankie Title: The HistoryMakers® Video Oral History Interview with Frankie Knuckles, Dates: August 23, 2013 Bulk Dates: 2013 Physical 8 uncompressed MOV digital video files (3:57:29). Description: Abstract: Dj Frankie Knuckles (1955 - 2014 ) signed with Virgin Records in 1991, becoming one of the first DJs to sign to a major label. In 1997, he became the first DJ to win the Grammy Award for Best Remixed Recording, Non-Classical. Dunson was interviewed by The HistoryMakers® on August 23, 2013, in Chicago, Illinois. This collection is comprised of the original video footage of the interview. Identification: A2013_235 Language: The interview and records are in English. Biographical Note by The HistoryMakers® DJ Frankie Knuckles was born in the Bronx, New York on January 18, 1955. The first music he was exposed to as a child came from his sister’s jazz record collection. He was naturally creative and studied commercial art and costume design before he started spinning records as a teenager in 1971. Knuckles’ first DJing job came from Tee Scott, whom he credits as both a legend and a major influence on his own style. In 1972, Knuckles and childhood friend Larry Levan first worked together at the New York City club, The Gallery. When Larry Levan first worked together at the New York City club, The Gallery. When Levan left to work at Continental Baths in 1973, Knuckles followed to work as the alternate DJ to Levan. He remained at Continental Baths until the club closed in 1976. In March of 1977, Knuckles played the opening night of the Chicago private after hours club, US Studio -The Warehouse, which was located in a three- story factory building in Chicago’s West Loop industrial area. In 1983, Knuckles opened his own club, The Power Plant which was located in an industrial space near the Cabrini Green housing projects. After more than a decade behind the turntables in dance clubs, Knuckles began to record tracks as well as play them. In 1983, a 12-inch single of his Warehouse classic “Let No Man Put Asunder” was released on the Salsoul label. The song went on to become a house classic. Knuckles produced songs for local Chicago vocalists and wrote such tracks as “Baby Wants To Ride,” “Bad Boy,” “Cold World" and “Your Love,” which was a breakthrough hit for Chicago native Jamie Principle. Knuckles released a hit with “You Can't Hide” in 1986. Knuckles closed the Power Plant that same year. In 1987, he returned home to New York City and secured gigs at the city’s hottest clubs, including the Roxy and Sound Factory. Knuckles, joined David Morales, (one of the biggest names in house music), along with Judy Weinstein founded the Def Mix music production company in 1988. In 1991, Knuckles signed with Virgin Records, becoming one of the first DJs to sign to a major label. In 1997, he became the first DJ to win a Grammy Award for "”Remixer of the Year.” Knuckles’ 2002 album, Motivation, was his first release of completely original tracks, rather than a remix album. Knuckles kicked off the Def Mix 15th Anniversary tour in Sydney, Australia in 2003. Knuckles has also remixed songs by superstars such as Janet Jackson, Diana Ross, Luther Vandross, Chaka Khan, En Vogue, and Michael Jackson. Frankie Knuckles was interviewed by The HistoryMakers on August 23, 2013. Scope and Content This life oral history interview with Frankie Knuckles was conducted by Anthony Poole on August 23, 2013, in Chicago, Illinois, and was recorded on 8 uncompressed MOV digital video files. Dj Frankie Knuckles (1955 - 2014 ) signed with Virgin Records in 1991, becoming one of the first DJs to sign to a major label. In 1997, he became the first DJ to win the Grammy Award for Best Remixed Recording, Non-Classical. Restrictions Restrictions on Access Restrictions may be applied on a case-by-case basis at the discretion of The HistoryMakers®. Restrictions on Use All use of materials and use credits must be pre-approved by The HistoryMakers®. Appropriate credit must be given. Copyright is held by The HistoryMakers®. Related Material Information about the administrative functions involved in scheduling, researching, and producing the interview, as well as correspondence with the interview subject is stored electronically both on The HistoryMakers® server and in two databases maintained by The HistoryMakers®, though this information is not included in this finding aid. Controlled Access Terms This interview collection is indexed under the following controlled access subject terms. Persons: Knuckles, Frankie Poole, Anthony (Interviewer) Stearns, Scott (Videographer) Subjects: African Americans--Interviews African Americans--Interviews Knuckles, Frankie--Interviews Organizations: HistoryMakers® (Video oral history collection) The HistoryMakers® African American Video Oral History Collection Occupations: DJ HistoryMakers® Category: MusicMakers Administrative Information Custodial History Interview footage was recorded by The HistoryMakers®. All rights to the interview have been transferred to The HistoryMakers® by the interview subject through a signed interview release form. Signed interview release forms have been deposited with Jenner & Block, LLP, Chicago. Preferred Citation The HistoryMakers® Video Oral History Interview with Frankie Knuckles, August 23, 2013. The HistoryMakers® African American Video Oral History Collection, 1900 S. Michigan Avenue, Chicago, Illinois. Processing Information This interview collection was processed and encoded on 2/5/2020 by The HistoryMakers® staff. The finding aid was created adhering to the following standards: DACS, AACR2, and the Oral History Cataloging Manual standards: DACS, AACR2, and the Oral History Cataloging Manual (Matters 1995). Other Finding Aid A Microsoft Access contact database and a FileMaker Pro tracking database, both maintained by The HistoryMakers®, keep track of the administrative functions involved in scheduling, researching, and producing the interview. Detailed Description of the Collection Series I: Original Interview Footage Video Oral History Interview with Frankie Knuckles, Section A2013_235_001_001, TRT: 1:30:25 2013/08/23 Frankie Knuckles was born on January 18, 1955 in New York City to Annabelle Lyles and Frank Knuckles, Sr. His mother was born in Mobile, Alabama and raised by her grandparents, Bessie Lyles and Mim Lyles. His father was born in the Raleigh and Durham area of North Carolina. When Knuckles was a young child, his parents separated and he was sent to live with his maternal great- grandparents in Mobile. There, he attended a one room schoolhouse, and encountered the Ku Klux Klan who rode through his community at night. At seven years old, he returned to the South Bronx in New York City with his mother. Growing up, his mother encouraged his artistic talents, and Knuckles spent his free time sketching and designing clothes. The two shared a close bond, and enjoyed watching movies together. Each day after school, Knuckles took care of his mother, who suffered from chronic asthma. When he was ten years old, she passed away and he moved in with his sister and her family. Video Oral History Interview with Frankie Knuckles, Section A2013_235_001_002, TRT: 2:30:33 2013/08/23 Frankie Knuckles spent his early years in Mobile, Alabama where he lived with his maternal great- grandparents. While there, Knuckles was hit by a car, and suffered a broken leg. For fun, he listened to his great- grandparents’ phonograph, and watched television programs like ‘The Original Amateur Hour’ and ‘The Ed grandparents’ phonograph, and watched television programs like ‘The Original Amateur Hour’ and ‘The Ed Sullivan Show.’ He moved back to New York City with his mother and siblings, and settled in Fort Apache neighborhood of the South Bronx. There, he attended P.S. 60, where he was teased because of his southern accent. At John Dwyer Junior High School in the Bronx, Knuckles was pressured by coaches and teachers to play basketball because of his tall and athletic build. However, Knuckles was more interested in his artwork, and was encouraged by his teacher, Robert Marvin, to enroll at High School of Art and Design in Manhattan, New York. In addition to his artwork, Knuckles enjoyed his music classes, and played the upright bass in the school orchestra. Video Oral History Interview with Frankie Knuckles, Section A2013_235_001_003, TRT: 3:32:53 2013/08/23 Frankie Knuckles lived with his older sister and her family in the South Bronx in New York City, after their mother died when he was ten years old. Due to his sister’s demanding work as a nurse’s aide at Jacobi Medical Center, and as a nursing student, Knuckles was tasked with caring for her children and completing the household chores. He was often abused by his sister, and used his art to cope. School served as a safe haven for him, where he learned to use pencils and watercolor paint in his artwork. His teachers encouraged him to pursue a career in art, and Knuckles was later accepted into the High School of Art and Design in New York City. During this time, Knuckles developed an interest in music as well, listening mostly to jazz, rhythm and blues and classical music. At fifteen years old, he began exploring the nightclub scene in New York City, where he met his best friend, deejay Larry Levan. The two often listened to music at the New York Public Library for the Performing Arts. Video Oral History Interview with Frankie Knuckles, Section A2013_235_001_004, TRT: 4:37:05 2013/08/23 Frankie Knuckles attended the predominantly white High School of Art and Design in Manhattan, New York, during the height of the counter culture movement in the 1970s.
Load more

Recommended publications
  • EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
    EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage.
    [Show full text]
  • Murders of Trans Women of Color Largely Ignored
    2015 CHIcagO AUTO SHOW WINDY CITY THE VOICE OF CHICAGO’S GAY, LESBIAN, BI AND TRANS COMMUNITY SINCE 1985 FEB. 18, 2015 VOL 30, NO. 21 PAGE 30 TIMESwww.WindyCityMediaGroup.com Murders of trans women of color largely ignored BY GREtchEN RachEL HAMMOND Shortly after Laverne Cox appeared on the cover of Time magazine last FORMER GOV. year, the media worldwide erupted with stories and opinions concerning PAT QUINN the Transgender Tipping Point. AMONG THOSE Attempting to discern what it really meant, a June 24, 2014 editorial in the New Statesman declared that “something enormous is happening AT EQUALITY in our culture. In the past three years, and especially in the past twelve ILLINOIS gala months, a great many transsexual celebrities, actors and activists have PAGE 26 exploded into the public sphere.” And this month, mainstream news outlets and websites across the United States have been focused on transgender news. Almost every moment of the life of sports celebrity Bruce Jenner had been detailed, scrutinized and commented on since rumors began to surface that Jen- ner was reportedly considering matching outward appearance to inner self. Then, on Feb. 7, Jenner was involved in a car accident in Malibu, California, and the attention became frenzied. TMZ noted that, despite the incident, Jenner’s reality TV series was still going ahead as planned. TMZ had been reporting on the incident to the point of a pathological obsession—posting photos and videos of the wrecked cars involved while People magazine carried a blow-by-blow account of the accident declaring that Jenner was given a breathalyzer test.
    [Show full text]
  • DYKE MARCH PRIDE MONTROSE NORTH Page 30 ROCKS Page 28
    CHICAGO RESPONDS TO SUPREME COURT WINDY CITY MARRIAGE THE VOICE OF CHICAGO’S GAY, LESBIAN, RULINGS BI AND TRANS COMMUNITY SINCE 1985 JULY 3, 2013 VOL 28, NO. 40 PAGE 5 www.WindyCityMediaGroup.comTIMES 1 MILLION AT PRIDE OUT SKY PLAYER SHARNEE ZOLL-NORMAN HITS THE PARADE page 38 page 24 Photo by Kate Sosin MARIA PAHL WINS WINDY CITY GAY IDOL page 29 page 34 DYKE MARCH PRIDE MONTROSE NORTH page 30 ROCKS page 28 Photo by Kirk Williamson Photo by Vern Hester UNITED BLACK PRIDE EVENTS TAKING PLACE THIS WEEK pagE 12 Photo by Janean Watkins 2 July 3, 2013 WINDY CITY TIMES NOW PLAYING! BELLEVILLE BY AMY HERZOG DIRECTED BY ANNE KAUFFMAN Featuring ensemble members Alana Arenas and Kate Arrington with Chris Boykin and Cliff Chamberlain “Nail-bitiNg psychological thriller...” –The New York Times Production Sponsor Grand Benefactors 2012/13 Benefactors 2012/13 WINDY CITY TIMES July 3, 2013 3 this week in When A Great Deal Matters, Shop Rob Paddor’s... WINDY CITY TIMES Evanston Subaru in Skokie NEWS ENTERTAINMENT/EVENTS XV Crosstrek Column 4 Scottish Play Scott 15 DOMA/Prop 8 march 5 ‘Miss Gay Black America’ film 19 Historic rulings on DOMA, Prop 8 6 Knight: I’m So Excited, Laurence 20 What to do after rulings? 8 ‘Fosters’ Sherri Saum 21 Developments in California 9 Gay Games 22 March in Springfield Oct. 22 10 30 Under 30 23 Gerber/Hart; judges’ alliance 11 Pride events 24 ø Writer on Black churches; event pulled 12 Billy Masters 37 The most fuel-efficient Gay in the Life 13 Fundraiser for the USO AWD crossover in America! VIEWS: Kelley, Gov.
    [Show full text]
  • A Case Study Exploring the Agency of Black Lgbtq+ Youth In
    A CASE STUDY EXPLORING THE AGENCY OF BLACK LGBTQ+ YOUTH IN NYC’S BALLROOM CULTURE By Shamari K. Reid Dissertation Committee: Professor Michelle Knight-Manuel, Sponsor Professor Yolanda Sealey-Ruiz Approved by the Committee on the Degree of Doctor of Education Date 19 May 2021 . Submitted in partial fulfillment of the requirements for the degree of Doctor of Education in Teachers College, Columbia University 2021 ABSTRACT A CASE STUDY EXPLORING BLACK LGBTQ+ YOUTH IN NYC’s BALLROOM CULTURE Shamari K. Reid Recognizing the importance of context with regard to youth agency, this study explores how 8 Black LGBTQ+ youth understand their practices of agency in ballroom culture, an underground Black LGBTQ+ culture. Ballroom was chosen as the backdrop for this scholarly endeavor because it allowed for the study of the phenomenon — Black LGBTQ+ youth agency — in a space where the youth might feel more able to be themselves, especially given that the 2019 Black LGBTQ+ youth report published by the Human Rights Campaign revealed that only 35% of Black LGBTQ+ youth reported being able to “be themselves at school” (Kahn et al., 2019). Thus, instead of asking what is wrong with schools, this study inverted the question to explore what is “right” about ballroom culture in which Black LGBTQ+ youth might practice different kinds of agency due to their intersectional racial and LGBTQ+ identities being recognized and celebrated. Framed by the youth’s understanding of their own agency across different contexts, my research illuminates the complex interrelationships between youth agency, social identity, and context. Extending the literature on youth agency and Black LGBTQ+ youth, the findings of this study suggest that in many ways these youth are always already practicing agency to work toward different ends, and that these different end goals are greatly mediated by the contexts in which they find themselves.
    [Show full text]
  • Chicago Gay and Lesbian Hall of Fame 2001
    CHICAGO GAY AND LESBIAN HALL OF FAME 2001 City of Chicago Commission on Human Relations Richard M. Daley Clarence N. Wood Mayor Chair/Commissioner Advisory Council on Gay and Lesbian Issues William W. Greaves Laura A. Rissover Director/Community Liaison Chairperson Ó 2001 Hall of Fame Committee. All rights reserved. COPIES OF THIS PUBLICATION ARE AVAILABLE UPON REQUEST City of Chicago Commission on Human Relations Advisory Council on Gay and Lesbian Issues 740 North Sedgwick Street, 3rd Floor Chicago, Illinois 60610 312.744.7911 (VOICE) 312.744.1088 (CTT/TDD) Www.GLHallofFame.org 1 2 3 CHICAGO GAY AND LESBIAN HALL OF FAME The Chicago Gay and Lesbian Hall of Fame is both a historic event and an exhibit. Through the Hall of Fame, residents of Chicago and our country are made aware of the contributions of Chicago's lesbian, gay, bisexual, and transgendered (LGBT) communities and the communities’ efforts to eradicate homophobic bias and discrimination. With the support of the City of Chicago Commission on Human Relations, the Advisory Council on Gay and Lesbian Issues established the Chicago Gay and Lesbian Hall of Fame in June 1991. The inaugural induction ceremony took place during Pride Week at City Hall, hosted by Mayor Richard M. Daley. This was the first event of its kind in the country. The Hall of Fame recognizes the volunteer and professional achievements of people of the LGBT communities, their organizations, and their friends, as well as their contributions to their communities and to the city of Chicago. This is a unique tribute to dedicated individuals and organizations whose services have improved the quality of life for all of Chicago's citizens.
    [Show full text]
  • Garage House Music Whats up with That
    Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM.
    [Show full text]
  • Qurrat Ann Kadwani: Still Calling Her Q!
    1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St.
    [Show full text]
  • Discourse on Disco
    Chapter 1: Introduction to the cultural context of electronic dance music The rhythmic structures of dance music arise primarily from the genre’s focus on moving dancers, but they reveal other influences as well. The poumtchak pattern has strong associations with both disco music and various genres of electronic dance music, and these associations affect the pattern’s presence in popular music in general. Its status and musical role there has varied according to the reputation of these genres. In the following introduction I will not present a complete history of related contributors, places, or events but rather examine those developments that shaped prevailing opinions and fields of tension within electronic dance music culture in particular. This culture in turn affects the choices that must be made in dance music production, for example involving the poumtchak pattern. My historical overview extends from the 1970s to the 1990s and covers predominantly the disco era, the Chicago house scene, the acid house/rave era, and the post-rave club-oriented house scene in England.5 The disco era of the 1970s DISCOURSE ON DISCO The image of John Travolta in his disco suit from the 1977 motion picture Saturday Night Fever has become an icon of the disco era and its popularity. Like Blackboard Jungle and Rock Around the Clock two decades earlier, this movie was an important vehicle for the distribution of a new dance music culture to America and the entire Western world, and the impact of its construction of disco was gigantic.6 It became a model for local disco cultures around the world and comprised the core of a common understanding of disco in mainstream popular music culture.
    [Show full text]
  • 1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
    "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979.
    [Show full text]
  • March 17 -23 , 20 16
    MARCH 17-23 , 2016 | VOLUME 19 | NUMBER 21 BROWARDPALMBEACH.COM I FREE NBROWARD PALM BEACH ® BROWARDPALMBEACH.COM ▼ Contents 2450 HOLLYWOOD BLVD., STE. 301A HOLLYWOOD, FL 33020 [email protected] 954-342-7700 VOL. 19 | NO. 21 | MARCH 17-23, 2016 EDITORIAL EDITOR Chuck Strouse MANAGING EDITOR Deirdra Funcheon EDITORIAL OPERATIONS MANAGER Keith Hollar browardpalmbeach.com ASSOCIATE WEB EDITOR Jose D. Duran browardpalmbeach.com STAFF WRITERS Laine Doss, Jess Swanson FELLOW Jerry Iannelli MUSIC EDITOR Falyn Freyman ARTS & CULTURE/FOOD EDITOR Rebecca McBane CLUBS EDITOR Melissa Guzman PROOFREADER Mary Louise English CONTRIBUTORS Emily Bloch, Nicole Danna, Michelle DeCarion, Doug Fairall, Abel Folgar, Cristina Jerome, Natalya Jones, Jonathan Kendall, Angel Melendez, Dave Minsky, Andrea Richard, Jesse Richman, David Rolland, Gillian Speiser, Terra Sullivan, John Thomason, Sara Ventiera, David Von Bader, Lee Zimmerman | CONTENTS | | CONTENTS ART ART DIRECTOR Miche Ratto ASSISTANT ART DIRECTOR Kristin Bjornsen PRODUCTION PRODUCTION MANAGER Mike Lugo PRODUCTION ASSISTANT MANAGER Jorge Sesin ADVERTISING ART DIRECTOR Andrea Cruz EWS | PULP EWS N ADVERTISING ADVERTISING DIRECTOR Alexis Guillen ONLINE SUPPORT MANAGER Ryan Garcia Y | MARKETING DIRECTOR Jennifer G. Nealon Evans Karli by Photo DA EVENT DIRECTOR CarlaChristina Thompson MARKETING COORDINATOR Kristin Ramos ▼ SENIOR ACCOUNT EXECUTIVES Sarah Abrahams, Featured Stories Peter Heumann, Kristi Kinard-Dunstan, Andrea Stern ACCOUNT EXECUTIVES Paige Bresky, Melanie Cruz, Alyson Puccetti Open and Shut Bruce Matheson’s one-man CLASSIFIED GE | NIGHT+ SENIOR ACCOUNT EXECUTIVES legal war has likely doomed the A T Patrick Butters, Ladyane Lopez, Joel Valez-Stokes Miami Open in Key Biscayne. S CIRCULATION BY JERRY IANELLI | PAGE 6 CIRCULATION DIRECTOR Richard Lynch CIRCULATION ASSISTANT MANAGER Rene Garcia BUSINESS Steamy Stories GENERAL MANAGER Russell A.
    [Show full text]
  • 2016 Program Book
    2016 INDUCTION CEREMONY Friends of the Chicago LGBT Hall of Fame Gary G. Chichester Mary F. Morten Co-Chairperson Co-Chairperson Israel Wright Executive Director In Partnership with the CITY OF CHICAGO • COMMISSION ON HUMAN RELATIONS Rahm Emanuel Mona Noriega Mayor Chairman and Commissioner COPIES OF THIS PUBLICATION ARE AVAILABLE UPON REQUEST Published by Friends of the Chicago LGBT Hall of Fame 3712 North Broadway, #637 Chicago, Illinois 60613-4235 773-281-5095 [email protected] ©2016 Friends of the Chicago LGBT Hall of Fame In Memoriam The Reverend Gregory R. Dell Katherine “Kit” Duffy Adrienne J. Goodman Marie J. Kuda Mary D. Powers 2 3 4 CHICAGO LGBT HALL OF FAME The Chicago LGBT Hall of Fame (formerly the Chicago Gay and Lesbian Hall of Fame) is both a historic event and an exhibit. Through the Hall of Fame, residents of Chicago and the world are made aware of the contributions of Chicago’s lesbian, gay, bisexual, and transgender (LGBT) communities and the communities’ efforts to eradicate bias and discrimination. With the support of the City of Chicago Commission on Human Relations, its Advisory Council on Gay and Lesbian Issues (later the Advisory Council on Lesbian, Gay, Bisexual and Transgender Issues) established the Chicago Gay and Lesbian Hall of Fame (changed to the Chicago LGBT Hall of Fame in 2015) in June 1991. The inaugural induction ceremony took place during Pride Week at City Hall, hosted by Mayor Richard M. Daley. This was the first event of its kind in the country. Today, after the advisory council’s abolition and in partnership with the City, the Hall of Fame is in the custody of Friends of the Chicago LGBT Hall of Fame, an Illinois not- for-profit corporation with a recognized charitable tax-deductible status under Internal Revenue Code section 501(c)(3).
    [Show full text]
  • House, Techno & the Origins of Electronic Dance Music
    HOUSE, TECHNO & THE ORIGINS OF ELECTRONIC DANCE MUSIC 1 EARLY HOUSE AND TECHNO ARTISTS THE STUDIO AS AN INSTRUMENT TECHNOLOGY AND ‘MISTAKES’ OR ‘MISUSE’ 2 How did we get here? disco electro-pop soul / funk Garage - NYC House - Chicago Techno - Detroit Paradise Garage - NYC Larry Levan (and Frankie Knuckles) Chicago House Music House music borrowed disco’s percussion, with the bass drum on every beat, with hi-hat 8th note offbeats on every bar and a snare marking beats 2 and 4. House musicians added synthesizer bass lines, electronic drums, electronic effects, samples from funk and pop, and vocals using reverb and delay. They balanced live instruments and singing with electronics. Like Disco, House music was “inclusive” (both socially and musically), infuenced by synthpop, rock, reggae, new wave, punk and industrial. Music made for dancing. It was not initially aimed at commercial success. The Warehouse Discotheque that opened in 1977 The Warehouse was the place to be in Chicago’s late-’70s nightlife scene. An old three-story warehouse in Chicago’s west-loop industrial area meant for only 500 patrons, the Warehouse often had over 2000 people crammed into its dark dance foor trying to hear DJ Frankie Knuckles’ magic. In 1982, management at the Warehouse doubled the admission, driving away the original crowd, as well as Knuckles. Frankie Knuckles and The Warehouse "The Godfather of House Music" Grew up in the South Bronx and worked together with his friend Larry Levan in NYC before moving to Chicago. Main DJ at “The Warehouse” until 1982 In the early 80’s, as disco was fading, he started mixing disco records with a drum machines and spacey, drawn out lines.
    [Show full text]